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japanese living legend electronic producer “takayuki shiraishi”,it’s a collection of his unreleased materials in late 80’s. he has started the career as his unit “BGM” on most reevaluated japanese experimental label “VANITY RECORDS”. one&only the album “BACK GROUND MUSIC” have been one of the most demanded japanese new wave record. the album is unique mixture of dark new wave, post punk,kraut rock and experimental electronic music. the first reissue of “BGM/BACK GROUND MUSIC” is coming this autumn.

Black Truffle is pleased to announce the release of this genuine head-scratcher, the first collaboration between DJ/mixtape-compiler Kayo Makino and underground legend Tori Kudo. Originally created to be played between acts at the launch of Eiko Ishibashi’s acclaimed The Dreams My Bones Dream and then reworked and refined for LP release, the two side-long pieces are sonic environments constructed by Makino for Kudo’s piano to inhabit, or, as the LP’s credits suggest, a cinéma pour l’oreille in which Kudo’s piano plays the starring role. Beginning with a soothing field recording of crickets dramatically punctuated by smashing glass, the first side finds Kudo playing his way repeatedly through one of Satie’s 1897 Pièces froides. Best known to many listeners for his role as leader of the ecstatically shambolic rock unit Maher Shalal Hash Baz, Kudo’s performance of Satie’s whimsical yet haunting melody is alternately halting and fluid, delighting in the hesitations of unstudied technique and the subtle variations between repeated attempts. While the combination of Kudo’s piano and the background of crickets initially suggests a documentary approach to recording – as if the we are simply hearing incidental sounds creeping through an open window – things take an unexpected turn a few minutes in when Kudo’s piano is suddenly doubled. Layering two separate attempts at the same piece of top of each other, Makino’s unorthodox mixing blurs Satie’s original into a fog of stumbling echoes that becomes increasingly dreamlike as the chirping crickets are overtaken by pattering rain, German dialogue and traffic sounds. The second side begins in a similarly inscrutable vein, with snatches of birds and film music providing a gentle backdrop for Kudo’s improvisational variations on a chord progression that, as his performance builds over its twenty-minute duration, somehow begins to suggest the sadly swaggering grandeur of Mick Taylor-era Rolling Stones. Makino accompanies and eventually overwhelms Kudo’s piano with a bizarre layer of digitally processed voice and drums, stretched out into a disorienting haze before suddenly retreating to leave Kudo’s piano accompanied only by a barking dog. Seemingly unrelated to anything else being produced in the world of contemporary music, this is a striking collaboration between two unique musical personalities that bridges the mundane and the surreal, opening up a dream-space both haunted and hospitable.

Masks is New York duo comprised of Max Ravitz aka Patricia (L.I.E.S, Opal Tapes, Ghostly) and Alexis Georgopoulos aka Arp (RVNG Intl, Mexican Summer, DFA, Smalltown Supersound). The aptly titled EP2 is (yes, you guessed it!) their second release, preceded by their Opal Tapes debut Food Plus Drug (II) — which gained support from Legowelt, Mount Kimbie and Boomkat — and a compilation appearance on esteemed Beats In Space 15 year anniversary 3xLP.

On paper, it might strike one as a strange duo. Ravitz’s work leans heavily on house and techno, but his recent work has been focused towards emotive melodies of IDM. And Georgopoulos has been busy creating minimalistic classical music for RVNG and most recently made waves with his critically-acclaimed album Zebra, which combined elements of 4th World and cosmic jazz.

All the tracks making up EP2 were made as live performances. No overdubs. Nothing "in the box". Just classic hardware and a strong vibe.

Opener "In This Room" is the sound of a NY summer sunset, pivoting on a hypnotic rotation of orange-hued chords. "Emotional Response" displays a different side of the group. Combining a 909 with a piano tug, it could provide that perfect soundtrack to a cathartic cry on the dancefloor.

On the flip side, "In Another Room" is dreamy techno par excellence, before sliding into an acid chugg for the ages. Bookworms smears the sun of "In This Room" into a 4am whirl, all purple lights and mountains of fog.

The cover artwork features the artwork of Sanou Oumar, a recent emigrant from Burkina Faso, West Africa. He graduated from the University of Ouagadougou in 2007 and moved to the United States to seek asylum in 2015. He currently lives in the Bronx and works in Harlem, New York. In 2018, Oumar had his first two-person exhibition (with Matt Paweski) at Gordon Robichaux in New York, and in 2019 (with Elisabeth Kley) at South Willard in Los Angeles, curated by Matt Connors.

‘Autonomy’ is a fiercely independent album and serves as a testimony to the united couple’s instinctive DIY attitude; for 10 years now, everything The Golden Filter has done from, producing, mixing, releasing, to shooting videos and press shots is a sovereign endeavour. Here, the duo finds themselves at a point of fearless positivity and an unbreakable creative synchronicity. This is undoubtedly one of their most focused and ambitious releases so far.

Born out of their own self-contained studio in Peckham, free from external influence, Penelope and Stephen set about on a mission of self-searching and solipsism drawing influence from their love and unity that sternly defies the damage caused by the ever-growing daily trauma of capitalism and politics. Staunchly feminist and optimistically reflecting on the growing human disconnect from reality, ‘Autonomy’ pulls subtly from the gloomier sides of British life and culture, The Golden Filter’s home now for the last four years.

‘Autonomy’ mines dark and experimental electronic tones; simultaneously conjuring dystopian synthscapes, EBM, post-punk, motoric electro and minimal wave. ‘Coercion’ is a mournful new wave cut that places Penelope’s recent brand of “inky dream pop” underpinned by Stephen’s pulsating synths as the perfect soundtrack to the rapture.

Tracks like ‘Autonomy’ and ‘Infinity’ find The Golden Filter in more familiar territory, thrusting post-punk electronics that straddle the gap between Panorama Bar staples and wayward, thought provoking art-pop. ‘Electric Light’ is an updated homage to old-school sounds of Siouxsie and New Order that take on the duo’s message of finding light in the dark and remaining open minded to each other as humans. Album closer ‘All The Queens’ is the most front-facing example of the duo’s political inspirations; imagining a new world, reborn under the rule of divine femininity.

Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades.
While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.

Jerome Derradji & Past Due Records are proud to present “Head Games (The Story of Larry Akles & CBM Records)”. Released on a DLP / CD with printed inner sleeves (or booklet) that include never seen before pictures of the band and a story written by Jacob Arnold. Artwork is by the mighty Al Kent. As a companion to the compilation we are also reissuing the incredibly rare and sought after “Head Games” 7” with a picture sleeve.

This compilation includes every song released by the Chocolate Buttermilk Band, remastered and reissued for the first time.

Needless to say, this is an essential release for fans of Boogie, Soul and Funk as the Chocolate Buttermilk Band releases are known to fetch thousands in the collectors market.

In Larry Akles own words, “This girl in Atlanta told me one time, she said ‘Larry, I heard on the radio that Chocolate Buttermilk was going to be on the show, and I told my girlfriend, Oh, it’s gonna be onnnn if Chocolate Buttermilk on there, ’cause whoever come behind them, they got to go!’” He continues, “When we hit the stage, boy it’d be some fire. We wouldn’t have to get warmed up. We’d start off hot!”

A very warm welcome aboard to the splendid AMERICAN STANDARD label !!

Critical & hedonistic acclaim have already been lavished on this Charleston based sonic excavator of considerable note, so we won't bore you with an exhaustive biog, mainly because there isn't one.
The music is most definitely left to do the talking as this one man 'Folly Beach Psychemagik' fills the record boxes of the world's most discerning diggers with treasure beyond measure.

So, for this latest 3 piece for American Standard we're firmly in the FM synthesis musical district of early 80's planet earth.
70's session players still strung out from the previous decades' debauchery tried their hand at piloting these electricity powered units to wildly varying degrees of success.
Luckily for you, Jaz has been kind enough to find and reload three of the finest, more esoteric, obscure but eminently playable moments from this fertile era for some primo 'back to the future' frugging...

Cosmic Bridge’s club focused ‘Earthbase Series’ continues with ‘Nocturnal’ the new release from Russian producer A.Fruit.

Four tracks that fuse Footwork, Drum’n’Bass, Techno and bold sound design into the 160 BPM framework. A er a heavy hitting set of releases via Russian imprint Hyperboloid, Irish modern trendsetters Rua Sound, and the ever vigilant Med School, so please welcome A.Fruit to the Cosmic Bridge roster.

Label boss Om Unit says: “Anna has a rare ear in this 160bpm world; one foot firmly in the techier sound-design lane, and one in the world of fun dance floor sounds. Well mixed, and not too serious! It’s great to have her on board and we look forward to sharing a stage soon!”

Kicking things off is ‘Make Them Shake’, a hypnotic and contorted expression of footwork with bubbling bass and drum FX - only for the boldest of dancers. ‘Polykarp’ comes complete with rugged old school hardcore chops twisted into a technoid stepper. ‘Deep Insight’, is reminiscent of early Moving Shadow Jungle; hypnotic & minimalist with tight drums, glitches and jazzy late night moments. Closing track ’Before You Go’ is a breaks filled, garage-footwork workout; cheeky vocal cuts and rolling syncopated rhythms for your waistline!

Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.

Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this.

From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.

9 years on from his Tectonic album, J Sparrow drops his next LP on MEDi with a carefully curated body of work showcasing the breadth of his production skill.


"#000000365 / Dark365 comes as a surprise, but one that feels the product of careful craft"Tomas Fraser - Mixmag Album of the month

Digital: 12 x tracksVinyl: 2 x 12" (6 x tracks)

31.05.2019

Danish drummer Terkel Nørgaard presents his trio consisting of some of the key players in the Copenhagen scene and adding ECM-recording American star trumpeter Ralph Alessi on the lineup. Not merely a "feature", Alessi and the Danes form a coherent band unit capable of producing memorable and highly inspired contemporary jazz which links to the Nordic tradition of dynamic sound ranging from delicate minimalism to powerful avantgarde eruptions. The album Terkel Nørgaard "With Ralph Alessi" will be out via Helsinki's We Jazz Records on May 17.

On the new album, the Danish trio plus Alessi achieve something that can always be regarded a remarkable feat. They deliver a highly inspired set of music which links the album onto the ever-evolving lineage of jazz music, and at the same time introduce a new band capable of stunning the listener in the here and now. Terkel Nørgaard "With Ralph Alessi" will be released on vinyl (black / mint colored), CD and digital formats.

Danish drummer Terkel Nørgaard presents his trio consisting of some of the key players in the Copenhagen scene and adding ECM-recording American star trumpeter Ralph Alessi on the lineup. Not merely a "feature", Alessi and the Danes form a coherent band unit capable of producing memorable and highly inspired contemporary jazz which links to the Nordic tradition of dynamic sound ranging from delicate minimalism to powerful avantgarde eruptions. The album Terkel Nørgaard "With Ralph Alessi" will be out via Helsinki's We Jazz Records on May 17.

On the new album, the Danish trio plus Alessi achieve something that can always be regarded a remarkable feat. They deliver a highly inspired set of music which links the album onto the ever-evolving lineage of jazz music, and at the same time introduce a new band capable of stunning the listener in the here and now. Terkel Nørgaard "With Ralph Alessi" will be released on vinyl (black / mint colored), CD and digital formats.

The first release on a new label: Pura Vida Sounds founded by Guts, in conjunction with Heavenly Sweetness. El Tipo Este is a pioneer of Hip Hop in Cuba and Al Quetz, a leading French beat maker.

This canny combo have drawn from the local musical currents, absorbing Afro-Cuban sounds, adding the freedom of jazz, the metronome of hip hop and a healthy bass shake of neighbouring island Jamaica.

For Cubans, El Tipo Este is the pioneer of all things hip-hop. As founding member of Obsesion, one of the nation's most notable hip hop exports. Early champions of his music included Gilles Peterson, who selected a track

to include in his 'Havana Cultura; New Cuba Sounds' compilation. Hot off the heels of this, El Tipo Este was enlisted to assemble the full band of musicians for the Havana Cultura tour. This unit played stages across Europe, USA and

closer to home in Latin America, and in turn this led to collaborations with The Roots and Mos Def For this long player, El Tipo Este he has enlisted beat maker France's Al Quetz to carry his rhymes. Originally known as Quetzal, Al Quetz is a crucial figure in

the world of beat making. A sound scientist whose cut, loop, program, paste compositions has seen him collaborate with the likes of Onra, Guts, La Fine Equipe and Milk Coffee & Sugar.




b1 Regla Sound System
[|] b2 Tu Vera
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[~] c1 Usame
[] c2 Interludio En El 106
[€] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[‚] d2 Revolucion Vivencial
[ƒ] d3 Tierra, Semillas Y Frutas




[{] b1 Regla Sound System
[|] b2 Tu Vera
[}] b3 Dicen
[~] c1 Usame
[] c2 Interludio En El 106
[€] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[‚] d2 Revolucion Vivencial
[ƒ] d3 Tierra, Semillas Y Frutas




[{] b1 Regla Sound System
[|] b2 Tu Vera
[}] b3 Dicen
[~] c1 Usame
[] c2 Interludio En El 106
[€] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[‚] d2 Revolucion Vivencial
[ƒ] d3 Tierra, Semillas Y Frutas

An exploration of traditional Chadian music with an electronic twist...

Chad is in many ways a blind spot on the map of today's global musical conversation. Overlooked, misunderstood and misrepresented, outside observers rarely concede the country an autonomous voice over its past, present and future. N'Djamena, the dusty capital of Chad with its well-kept stories of boundary-breaking musical collaborations and thirst for experimentation is a city that reflects the country's diversity: the arid North, bordering the Sahara, where nomadic tribes revere the endless desert with their handcrafted instruments. The lush tropical South, where the frenetic drumming of local initiation ceremonies blends with sounds of neighboring Congo and Cameroon. Right in the middle: N'Djamena, a forgotten melting pot of cultures and peoples bursting with unrecorded stories of life at the margins of the world's attention.

Tackling this view is precisely one of the aims of Pulo NDJ. In May 2018, Nickodemus accepted an invitation from Hape Collective to travel to N'Djamena to teach a group of young adults DJ'ing and electronic music production, which resulted in the encounter between and a group of talented artists from Cameroon, Chad, Congo and Togo. After a weeklong series of listening to original songs & demos, the recordings continued in a pop-up studio created by DJ Buosis & Nickodemus which culimated in Desert To Douala, an album featuring 11 songs, all originally written and recorded in N'Djamena.

The project found its inspiration in the city's un-narrated diversity and seeks to explore the possibilities offered by technology to demonstrate how the country's rich heritage connects with existing musical conversations. It strives to create bridges in a world of walls. It has been a yearlong creative process that built friendships and fostered understanding among people united by a passion for music and creation.

Australia based Brit Jamie Blanco serves up Kilsha's superb second EP and capitalises once more on a fine recent run of form.

Blanco has previously released on Felix Dickinson's Cynic as well as Futureboogie and more recently on Pelvis & Tone Dropout. He is one half of Ess O Ess as well as a solo artist making waves with his wonderfully off kilter sounds, and has played all over the planet in the last couple of years. Eclectic in taste and inspired by Balearic beats as much as driving percussion and acid, he is all set for a busy 2019.

Right from the off, 'Unit of Pleasure' gets in your affections with its mix of original live recorded percussion, aircraft noise and hypnotic bass. It's a wilfully diverse mix of sounds and scenes that is utterly compelling. The excellent 'Progressive View' then dips into broken beat and classic electro territory, with raw synths and cavernous hits driving things forward over a rhythmic b-line.

Keeping up the unpredictable mood of the EP, 'Grapefruit Agenda' is a tripped-out piece of left of centre house music, with paranoid melodies and circling pads amping up the energy and taking you on a real journey. The superb 'XOX18' closes things out with downtempo electro moods that are futuristic and dystopian, all with an effective analogue edge.

These four tracks confirm Blanco is a fascinating artist with a fresh take on dance music and provide another superb instalment for the supremely promising Kilsha Music.

Véronique Sanson is one of the most famous French pop oriented female
singer, songwriter, and composer of the 80s. She began her career in the 70s,
and was the girlfriend of genius composer Michel Berger. Her world turnt
upside down when she met Stephen Stills of Crossby Stills & Nash. One Day,
during a recording session in Paris, she left the studio pretending to go buy
cigarettes, but never came back... She flew overnight to the USA, where she
married Stephen Stills. In LA, she records new music with superstar
composers such as Ray Parker JR and Harvey Mason. "On m'attend là-bas",
produced in 1974, was one of the single of the album Le Maudit.
Funky French League is an intergenerational collective (based in Paris)
formed by Young Pulse (Gamm) , Dabeull (Roche Musique), Arthur Chaps,
Woody Braun (Malka Family), Mr Willy, DJ Asko et Uncle T (Groove
Deluxe). All coming from different universe from hip-hop, to electronic music,
but united by their love for the groove and the funk.

Available on vinyl for the first time in 40 years, Outernational Sounds is proud to present a masterpiece from the Los Angeles jazz underground - Horace Tapscott's burning, spiritualised 1978 set, The Call.

One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Horace Tapscott was the undisputed keystone in the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association, later changed to UGMAA - Union of God's Musicians and Artists Ascension), and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicentre of music, culture and politics in the Los Angeles area.

From their 1960s base at the Watt's Happening Coffee House on 103rd St, to their decade-plus- long 1970s residency at the Immanuel United Church of Christ on 85thE St and Holmes Ave, Tapscott's groups were the beating heart of underground music in LA. Hundreds of musicians passed through and played their part. Major figures in LA jazz such as Arthur Blythe, Azar Lawrence, Jimmy Woods, John Carter, Bobby Bradford, Sonny Criss, Ndugu Chancler and dozens of others all paid dues or just got down with Tapscott, not to mention the core Arkestra regulars who have since become celebrated names - Nate Morgan, Jesse Sharps, Adele Sebastian, Dadisi Komolafe, Gary Bias, to mention only a few.

Tapscott and the Arkestra were down on the ground - playing fundraisers in park and street, organising teach-ins and workshops for young and old, mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, and built an ark for the Black arts in the heart of the city. But as a result of this grassroots community focus and Tapscott's antipathy to the music industry, the Arkestra didn't record for nearly two decades. That only changed when long-time jazz fan Tom Albach started Nimbus Records. The label was initiated specifically in order to document Tapscott and his circle, and the first three records showcased Horace and the Arkestra.

The Call was put together from two studio sessions in April 1978, one at Hollywood Sage and Sound, one at United Western - the latter session had the addition of a string section, who can be heard on the moody Cal Massey composition 'Nakatini Suite' and Jesse Sharps' swinging modal trip, 'Peyote Song No. III', with its swirling soprano solo. In keeping with the communal nature of the Arkestra, the other two compositions, 'The Call' and 'Quagmire Manor at Five A.M.' are also by Arkestra members. But at the centre of the music is the builder of the Ark, the visionary whose original call to action started a movement whose legacy continues to this day - Horace Tapscott.
Heed The Call!

On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October's Vol. 1. The former Black Dice member's 'Freakbeat 4/4' agenda gets further refined here - Vol. 2 is more laid-back than the first, but still highly danceable. Self-described as 'late Night Flight proto tekno,' the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller. Eric's textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and 'jamming' to a climate of uncanny smoothness and polish.

Where Vol. 1 was composed of 'rippers,' Vol. 2 travels at its own pace, continuing to showcase Eric's ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of 'BS Dropout' to the blithe, video arcade soundtrack 'High Score Zed.' Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years - arriving in 2019 with his mischievous sense of adventure firmly intact.

Véronique Sanson is one of the most famous French pop oriented female singer, songwriter, and composer of the 80s. She began her career in the 70s, and was the girlfriend of genius composer Michel Berger. Her world turnt upside down when she met Stephen Stills of Crossby Stills & Nash. One Day, during a recording session in Paris, she left the studio pretending to go buy
cigarettes, but never came back... She flew overnight to the USA, where she married Stephen Stills. In LA, she records new music with superstar composers such as Ray Parker JR and Harvey Mason. "Bernard's Song", produced in 1976, was the first single of the double gold album Hollywood.Funky French League is an intergenerational collective (based in Paris) formed by Young Pulse (Gamm) , Dabeull (Roche Musique), Arthur Chaps,
Woody Braun (Malka Family), Mr Willy, DJ Asko et Uncle T (Groove Deluxe). All coming from different universe from hip-hop, to electronic music, but united by their love for the groove and the funk

" I used to live in rue de Clignancourt, and remember as a kid going to the 14th of July West Indian ball organized by my father rue André Del Sartre in Montmartre every year. There I would meet, among others, saxophonist Robert Mavounzy. Sticking to the area, my older brother had a band and often played at the famous venue La Cigale, where even Henri Salvador joined him for a jam from time to time."Since childhood Serge Fabriano bathed in music, to-ing and fro-ing between his native Guadeloupe and Paris where he grew up. He attended the music conservatory, learnt how to play bass, met and played with many musicians and was ultimately angling for a career as a music teacher. But Serge had wanderlust; he lived to meet new people and was passionate about travel.Thus, it was in a squat located rue de Flandres in the 19th district of Paris that Serge Fabriano met by chance zarb player Djamchid Chemirami, one of Iran's greatest percussionists, who invited him to the Arts Festival of Shiraz-Persepolis. After a month-long motorcycle journey, he and his guitar teacher, Roger Bénichou, arrived in Tehran. Sadly their guitars didn't survive the journey. It was there that he met, among others, Woody Shaw, Max Roach and his wife Abbey Lincoln. Serge also formed a friendship with saxophonist Gary Bartz and stayed on a month playing with the cream of the musicians who'd attended to the Festival.During the mid-70's, he alternated between teaching classes and live gigs, and performed in Germany with a funk band comprised of ex-GIs from the US Army. He also met the members of Chick Corea's group, Return to Forever, and especially Stanley Clarke who became a great source of inspiration to him.From 1978 onwards, Serge Fabriano put aside teaching and devoted more time to music. He became a musician's musician, doing studio recordings with rock bands. He also played with members of the Caribbean diaspora, which included the great drummer Marcel Lollia (known as Velo), Patrick Jean-Marie, Guy Conquette, Winston Berkley, Mino CineluDuring the "Ayatollah Comédie" musical comedy tour organized by the Journal Liberation, Serge met actor Pierre Clémenti (Il Gattopardo, Belle De Jour, The Conformist). This was a game-changer : "I was trying to record my first record. Clémenti suggested the Studio Beaubourg in Paris. "The group Fabriano Fuzion - Fabriano Unit Zion - was born.The band brought together some of the Caribbean's most inspired musicians: Martinican-born Mario Canonge on the piano (his first appearance on an album), Alain-Jean Marie on the synthesizer, Edouard and Pierre Labor on saxophones, Claude Vamur (Kassav ') on the drums, singer/percussionists Marie-Reine Lamoureux and Marie-Céline Lafontaine, percussionists Roger Raspail, Sully Cally and Hector Ficadière (Tumblack, Vent Levé) on Ka percussions.It is precisely the Gwo Ka - this ancestral 'root' music deeply embedded in the heart of the Guadeloupe musician - which constitutes the rhythmic backbone of this first opus. The Gwo Ka, the jazz, the poetry and the spiritual vibe are gathered here to form a splendid album; one of the true masterpieces to emerge from the French West Indies.Rarely will a band have borne its name so well than Fabriano Fuzion - its music is a multiple and collective work in which each element brings its identity and its richness, conferring to this major work a truly fusional dimension.

1 colored white LP in single sleeve with 3mm spine. Printed inner-sleeve. Collectors edition CD album included.

Vinyl (Limited Colored Edition)

Bananarama"s fifth album "Please Yourself" was released in 1993 by London Music Stream and is the first album which features the band as a duo. The album includes the singles: "Movin On", "Last Thing On My Mind", "More, More, More"
Bananarama are often cited as the UK"s most successful ever girl group with 5 UK singles and 10 top 10's.
They were the girl group that defined the eighties with their run of pop hits which sound tracked the lives of fans around the world. The news of Bananarama"s reunion, after nearly 30 years, was met with universal approval and saw the band celebrated all over again. In 2017 the trio reassembled for a UK Tour in a pop reunion only dreamt of in the wildest imaginations by many quarters. The band reunited in their original line up for the first time in years. For many Siobhan stepping back into her natural habitat once again is pop"s very own version of Morrissey and Marr re-uniting. The band play their final dates as a trio this summer in a run of gigs including Edinburgh Castle, British Summer Time and Smukfest.

- Daniel O'Donnell's recording career has now spanned almost 35 years and he continues to delight fans around the world by his
recording and touring activities.
- Daniel is the UK chart's most prolific and one of the most successful recording Artists. In 2018, he broke his own world record, by
becoming the first recording artist to chart at least one new album every year in the Artist Albums Chart for 31 consecutive years.
- During his career, in the United Kingdom Daniel has amassed thirty-seven Top 40 albums, including sixteen Top 10 albums, with
fourteen of them this Century, a feat not achieved by any other recording Artist.
- 'The Gold Collection' is a heavyweight 180g Gold-colour vinyl LP, featuring duets with his long-term singing partner Mary Duff his best
known hits, including twelve Top 40 hits, in this 16-track set.

96 Back, aka Evan Majumdar-Swift, returns to CPU with his debut album 'Excitable, Girl'. Bringing his thoroughbred Sheffield electronic heritage back into the spotlight, this album raises the bar in terms of quality and diversity. DJs and discerning home listeners will find plenty of favourites on this long player with dance floor igniters jostling alongside ambitious ambient moments. Lush Plaid-like melodies throughout will keep you hooked.

Evan firmly established himself in 2018 and is one of the hardest working artists on the scene, this album will only strengthen his presence on the electro grid.

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Basic Rhythm arrives on Arcola following two killer albums for Type and one as East Man for Planet Mu. Up top, 'Dough Boy' rolls a tough LFO heavy dance floor number that is sure to mash heads up everywhere it is deployed, while the anthemic 'Can't You See' shifts between early AI synths and an ambient dancehall vibe that while it has its roots in early 90's jungle and hardcore, has its sight fixed firmly on the future."

Made in the Designers Republic. 12" EP house in full print outer sleeve with clear foil detailing and custom die-cut holes plus custom print inner sleeve.
Mastered and cut by Beau at Ten Eight Seven.
Limited to 500 units worldwide

Panoptique is probably one the most prolific guy from the electronic punk scene in France, member of the collective Simple Music Experience, member of the formations Violent Quand On Aime, Les Simplists, Succhiamo or United Assholes with his old roomates Maxime and Yasade... Just to say he is a guy to follow, understand ! So we are very proud to present on the Seven Series two super tracks from him and United Assholes, two super cool songs in the Minimal-Wave/Synth-Pop punkish style which were originally released on cassette on Lost Dogs Entertainement in 2017. « Objectif Jeune » is a little ballade with dirty bassline, tiny riff, and melancolic voice. « Là, Les Chachats, Là, Les Chienchiens » is a sleezy hypnotic rhyme with dirty voice on repeat and crazy synth lines jam. For the artwork we digged into the arcade of the web to discover this special painting of the
netherland realistic artist Jeanne Illenye who is specialised into painting animals and still lifes. Limited to 300 copies, don't sleep !

Günter Schickert, four decades of multi-instrumental cosmic explorations, under Berlin's sky, above genres, and compromises.

It was memorable the time when I firstly listened to his debut LP of 1974, the monumental Samtvogel. It overwhelmed me with layers of echoing guitars roaring into space, causing a powerful release of dopamine spreading through my skin, in the way an Interstellar Overdrive', or a Richard D James Album would do. It was a proof of the divine to discover Günter Schickert, it is a profound honour today to present on Marmo his seventh album to date, Labyrinth, the first to be released on vinyl format since 1983`s Kinder In Der Wildnis.

Schickert's Samtvogel, self-published first, then licensed to Brain, equaled the imaginative leap and sonic power of the early Pink Floyd, Manuel Gottsching's Inventions For Electric Guitar or A.R. & Machines's Die Grüne Reise. What followed, from his second LP Überfällig on Sky Records to his collaborations with Klaus Schulze, Jochen Arbeit and Schneider TM, even if little acclaimed, spans a large spectrum of music styles, always through a distinctive and personal aesthetic, that is deeply linked to the one he firstly crafted back in '74, when Schickert pioneered the use of echo effects applied to guitar playing.

And now Labyrinth, a record that stands for versatility, where genres do not matter, soundscapes or life situations take over, song-writing emotions pop out, handing out a spectrum of surprises to the listener. You may find yourself flying low along steep cliffs and with a blink of eye you are thrown into a Middle Eastern scenery.

The album is divided into two parts, two different production bulks and periods of Günther Schickert's life. Side A features a selection of tracks recorded in 1996, appearing on the 2012 album HaHeHiHo, released via Pittsburgh based VCO Recordings, on a limited press of 100 units, tape format only. I felt that the visionary and emotional richness of these pieces deserved the vinyl format and a chance to reach to a wider audience.

The Raga-inspired Morning' opens Labyrinth with exotic charm and bitter-sweet nostalgia. Sieben' kicks off with the same guitar scales of the previous theme, before the motorised progressions of a Korg MS-20 synth surprisingly storm in, carrying along an intersecting multitude of filters and sharp guitar effects, flowing into an epic, paradisiac ending. Ninja Schwert' remains on astral dimensions, it is a struggle of cosmic forces, where the steady ride of a pounding beat gets embraced by different guitar layers and analogue electronic filtering. The side closes up with HaHeHiHo', a slow ballad featuring Mr. Schickert on vocals, guitar, bass guitar and drum machine - an example of simple, stripped down yet gifted songwriting that is capable to reach the heart of the listener.

Side B contains material produced between 2007 and today. The intricate, bewildering Tsunami' shows the multi-instrumental and recording abilities of Günter Schickert: a field-recorded storm with mesmerising powers, a peculiar progressive approach to guitar playing. Mysterious sinister spirits and sounds are emerging and the feeling of being lost in a pleasant trance arises. In contrast, Oase' muffles the intensity and jumps into a completely different soundscape, where in liaison with the sounds of a rolling drum tom and a desert-like trumpet, the microphone carefully captures the found sound tones of everyday-life objects and actions. Like HaHeHiHo on side A, Checking' represents the vocal gem of the B side, in a raw and direct way of songwriting like if Syd Barrett was his invisible helper. Palaver' (which means unnecessarily talk' in German) assembles different vocal recordings of Schickert into a bizarre free-style conversation through a mysterious language, where he attempts to emulate illiterate children conversating. The final track, Morning (Slide)', reprises the opening theme, this time solely performed through the caressing dilated sounds of Günter's slide guitar.

Cryovac Recordings is an independent label brought into existence by artists that believe in their craft. It is a platform to unite factions of the Detroit underground and display their sovereign sounds. Cryovac is a fresh view of the techno soundscape that is forever changing. Our aim is to translate this time into the grooves of vinyl.---a.garcia
Here we are with Cryovac's 21st offering: a thumping, machine funk EP that is sure to snap your set into overdrive. This four tracker throws back to the minimal feels, yet is still futuristic, mildly quirky (in the best ways) and slamming at the same time. The tracks all have that bounce, glitch and experimentation that you come to expect from label founder Andy Garcia and friends. This is also a very versatile record that won't leave your play crate too often. Pick one up at a quality record shop near you!!—Vince Patricola

One thing The Vryll Society aren't short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he'd previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they've become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

'Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you'll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we've just continued on that path' says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they've created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It's that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite's Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society's own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn't frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren't so much written as devised or developed, brought together organically over months in the band's underground lair, or over weeks in Liverpool's Parr Street Studios. Working closely with producers, Wills' right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It's a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It's a path that leads to greatness.

a1 | Course Of The Satellite
a2 | A Perfect Rhythm
a3 | Andrei Rublev
a4 | Glows And Spheres
a5 | Tears We Cry
a6 | When The Air Is Hot
b1 | The Light At The Edge Of The World
b2 | Shadow Of A Wave
b3 | Soft Glue
b4 | Inner Life
b5 | Give In To Me

'Sounds from the Great House! Outernational Sounds proudly presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. Mastered at 45rpm on double vinyl for enhanced sound, this release features all tracks at full length for the first time on wax.

One of the most sought after and highly regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, the Creative Art Ensemble's One Step Out is a timeless work of spiritualised jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group.

A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous 'Great House' at 2412 South Western Ave., LA - a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. 'When I walked in there,' recalled Kaeef, 'it was like this whole rush came over me, just from going in the front door...It was like a very, very warm feeling of love. I went and I came out with 'Flashback of Time', and that was my first arrangement.'

Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece 'New Horizon' would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But 'Flashback of Time' would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. 'I would like to form a group that would be an extension of the Pan Afrikan Peoples Arkestra,' he told Tapscott. The group was to be known as the Creative Arts Ensemble, and One Step Out, released in 1981 by Nimbus West, was their debut.

Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody 'Sonship' Theus and altoist Gary Bias, with veterans Henry 'The Skipper' Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energised independent jazz music. Community uplift and sacred vision straight from the Great House, back on vinyl for the first time since 1981!

The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.

The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'

The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.

'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.

'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.



Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it

Los Angeles - September 7, 2018 - Billy Idol's 1980's remix collection, Vital Idol, is getting a modern-day upgrade with Vital Idol: Revitalized, set for release on CD and digital by Capitol/UMe on September 28. A 2LP 180-gram black vinyl in addition to a limited edition, color variant will follow on November 16.
More than 30 years after his groundbreaking Vital Idol compilation cemented the vibrancy of the dance-rock remix genre in the second half of the 1980's, Idol's Revitalized collection features 11 brand-new remixes of his most classic and enduring hits. Lending their hands to the Revitalized proceedings are electronic dance luminaries Moby, The Crystal Method and Paul Oakenfold as well as current innovators including Tropkillaz, Shiba San, Juan Maclean, CRAY and RAC, who's remix of 'Dancing With Myself' debuts today.
Vital Idol, initially released in Britain in 1985 and subsequently issued in the United States in 1987, was the first remix record released by a rock superstar. Besides being certified platinum, Vital Idol was accompanied by a version of 'Mony Mony' that reached No. 1 on the Billboard Hot 100 Singles chart, as well as hitting the Top 10 on the U.K. Singles chart.
Highlights found within the grooves of Revitalized include The Crystal Method's percussive, explosive stab at 'Rebel Yell,' CRAY's bass-and-keyboard-blessed 'White Wedding,' Tropkillaz's trop-house framing of 'Eyes Without A Face,' St. Francis Hotel's shimmering stop/start caress of 'Flesh For Fantasy,' and RAC's retro-harmonic, fist-pumping 'Dancing With Myself.'
Meanwhile, the digital version of Revitalized features four additional exclusive remixes, namely the brand new Billy Idol/Steve Stevens Remix of 'Mony Mony,' Paul Oakenfold's Extended Remix of 'One Breath Away,' Moby's 'Half Time Version' of his take on '(Do Not) Stand In The Shadows' and 'Save Me Now (Lost Dog Remix),' reworked by Billy Idol's son, Willem Wolfe with Brandon Rauch and Ed Bedrosian.

As she continues to make UK chart history with her 7th #1 single 'I'll Be There', Jess Glynne announces her glittering new album 'Always In Between'.
It's been 3 years since the release of Jess Glynne's momentous debut album 'I Cry When I Laugh'. Selling over 2 million copies worldwide and including a mass of smash hit singles including 'Hold My Hand', 'Take My Home' and 'Don't Be So Hard On Yourself', it consolidated Jess as one of the most important British popstars and a formidable songwriter.
Celebrated for her intimate yet universally appealing themes, Jess has connected with millions of people across the globe - demonstrating her peerless ability to tell the truths young women want to hear; about the loves that build them up and let them down; the aspirations and dreams that might turn sour but you'll smile through them anyway. These themes are passionately continued in 'Always In Between'.
'Always In Between' finds Jess on a breath-taking journey of self-acceptance as she comes to terms with her new-found fame, heartbreak and the well-known pressure of writing a second album. The result is a triumph that captures the heart of what being a 28-year old woman in 2018 can feel like - trying to balance real life with everything that you want it to be. With a tone of joyful harmony and acceptance set by 'I'll Be There' already, Thursday (co-written with Ed Sheeran), explores our many insecurities and the idea that sometimes stripping everything back can make you feel most yourself, while 'All I Am' attempts to answer the niggling voice inside so many people's head asking if they are enough. There's no doubt that 'Always In Between' will capture many under its spell as Jess Glynne once again reaches out her hand, and offers love and friendship and unity to all that can hear her.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

In a time when Jazz music is entering a contemporary renaissance and exciting the ears and minds of new audiences, Zombie Zombie's Étienne Jaumet offers us his unique, idiosyncratic take on the sound with the sprawling '8 Regards Obliques', his 3rd solo album with the Versatile label.

Jazz requires a certain freedom of technique, interpretation and improvisation that already matches Jaumet's own production style and sonic aesthetic as well as his playful approach towards music. The eight pieces that make up the new LP were very quickly recorded; Jaumet let himself be carried away by the atmosphere without focusing too much on fine details or the laborious aspects of the composition process. The finished article is a spontaneous collection that stands out, a true mirror image of the creative process adopted by the artist. Not surprisingly, spontaneity is one of the characteristics already present in his music, in both his recorded output and his live happenings, where he leaves much room for freedom and improvisation.

'8 Regards Obliques' was recorded at the Versatile studio in less than 3 weeks with quite a basic set up: TR 808, selected synthesizers, vocals and of course the saxophone, which is a constant presence also in his previous albums. For the mix Etienne has again appealed to the maestro I:Cube, a central figure of the Versatile story and a prdigious engineer and artist in his own right. He immediately understood that it was necessary to keep the spontaneous side alive and to not over-produce the pieces or over-edit them, being constantly mindful to retain the power in the sound and in the frequencies. From Sun Ra with 'Nuclear war', Miles Davis in 'Shhh / Peaceful' or 'Theme from a symphony' by Ornette Coleman to 'Caravan' (already quoted by many jazzmen), Etienne enjoyed revisiting classic masterpieces and paying tribute to his inspirations. He allowed himself only one personal and original composition, 'Ma révélation mystique'.

The final single in a series featuring regular Ghost Box artists, special guests and one-off projects. This time our guest artist is folk singer, Sharron Kraus with a remix by Belbury Poly on the B side.

'Something Out of Nothing' is a beautifully simple yet profound baroque pop folk song. Kraus sings, plays guitar and synth and is ably assisted by a studio band comprising: Jenny Bliss Bennett on Viola de Gamba & Fiddle, Nick Jonah Davis on Slide Guitar, Neal Heppleston on Bass, Oliver Parfitt on Synths, Nancy Wallace on Backing Vocals and Guy Whittaker on Drums.

Sharron Kraus is a singer of folk songs, a songwriter and multi-instrumentalist whose solo work and collaborations offer a dark and subversive take on traditional music. As well as drawing on the folk traditions of England and Appalachia, her music is influenced by gothic literature, surrealism, myth and magick.

In addition to eight solo albums, Kraus has recorded an album of traditional songs 'Leaves From Off The Tree' with Meg Baird and Helena Espvall (Espers, Beautify Junkyards) written an album of songs to celebrate the seasons of the year, 'Right Wantonly A-Mumming', which was recorded with some of England's finest traditional folk singers including Jon Boden, Fay Hield and Ian Giles. She has also recorded and performed with Ex Reverie's Gillian Chadwick as Rusalnaia, with Tara Burke (Fursaxa) as Tau Emerald and with Irish free-folk collective United Bible Studies.

Jim Jupp, co-founder of the Ghost Box label, records as Belbury Poly. His melodic, folk inflected electronica references 70s library music & TV soundtracks. It's music that's both light and weirdly unsettling.

Fast-moving Times, In Which Popularity And Quality Are Often Equated Or Commonly Confused With One Another, Aids And Abets This Imitation Game Some Call Conformity, Others Professionalism. In The End, Both Paths Will End Up In Predictability. Here's Where Stathis Kalatzis, Aka Mr. Statik, Comes To Play. The Resident At Athens' Multi-purpose Cultural Space Six D.o.g.s Has Not Only Been One Of The Scene's Pivotal Figures, But Since He Started To Release His First Solo Releases In The Mid-00s, The Now Berlin-based Greek Dj Has Earned A Reputation For Being A Trend-ignoring, Unconventional Producer.

Whether His Output For Bpitch Control, Rotary Cocktail, Or Even Last Year's Debut Ep "rogue
Cherub" For Away - Mr. Statik Enjoys Thinking Outside The Box By Crossing His Diverse Pop-cultural Interests And Pulling In Expertise And Perspective From Beyond The Usual Functional Formulas. After A Decade Of Not Staying In One Comfort Zone Or Sticking To One Musical Direction, He Finds Himself More Comfortable In His Producer Shoes Presenting His Debut Album "metamorphose". Housing A Few Film References In This For Mr. Statik Typical Nebulous Fashion, The Ten Tracks Not Only Carrying The Narrative Potential Of An Imaginary Score, But Primarily Exploring A Versatile Array Of Influences, Themes, And Contradictions (which Mr. Statik As An Illustrator Also United On The Albums' Artwork). Ranging From The Sci-fi Infused Album Opener "insomnia", The First Non-dancefloor Piece He Ever Produced Around 7 Years Ago, Over "atastrophe", An Homage To Ancient Greek Theater, To Collaborate With Others Such As Beatrice Ballabile, Jan Niklas Jansen (locas In Love), And Rbma Alumnus Claude Speeed, Who Contributed Synth Work On "soulfur".

"metamorphose" Succeeds In Constantly Changing Its Tones, While Maintaining An Emotional
Frame, In Which Mr. Statik's Melancholic, Introvert, At Times Hopeful And Euphoric, Bottom End
Inclined Electronic Music Can Elaborate.

Mr. Statik On His Album Debut:

"i Have Always Tried To Approach Producing As Storytelling Exercises. This Allowed Me To
Experiment Finding Myself In Uncharted Territories, More Specifically In Music That Doesn't
Necessarily Fit To A Dance Floor - Unless It's A Very Adventurous One. 'metamorphose'' Is Loyal To That Mindset. I Usually Draw Inspiration From Cinema And Comic Books And Have Always Been Fascinated With Sci-fi, South Asian Culture, Surrealism And The Dreamworld. Initially The Album Was Supposed To Be A Collage Of The Various Influences That Had Shaped My Life, But Ended Up Being Something Very Different. During The Conceptualization And Recording Process A Lot Of Things Around Us Have Changed, Primarily For The Worse. I Became More And More Sensitive And Susceptible To Pessimism And Trendy Visions Of 'dystopian Futurism', So That The Lp Emerged Being An Exercise In Positivity: 'metamorphose' Is A Verb Describing The Act Of
Conversion, But In Greeklish It Is Describes The Urge Towards Others To Start Transforming Their
Environment, In This Case For The Better."

Quest, transit, chaos, mutation, transfiguration, ascension and illumination. These are some of the steps followed in the journey of life that are embodied on each track of the album Adonai. The solo debut of the multi-instrumentalist composer Marco Paul condenses a career of more than ten years, in which, the search for the truth of oneself and authentic sound has traveled and nurtured from different genres and cultures. Adonai is an odyssey that combines sounds and images of the earthly and oneiric worlds: an audiovisual work that opens several windows to the different perceptions of the facts that make up the life of the human being.

After 9 years of constant international touring, 6 albums and more than 400 live performances with the bands Sour Soul, Ratbot and Funk My Jesus, as well as the conception and musicalization of the award-winning short films "Undermine" and "24K All You Need Is Gold", Marco Paul decided to retire to an island in the Caribbean, where he found and refined his sound. Thus, between 2014 and 2016 he created the music for Adonai, a work produced by Aitor Etxebarria under the label of Forbidden Colours.

The recording includes guest musicians from different countries such as Aitor Etxebarria (synthesizer, electronic magic) and Hibai Etxebarria (double bass) from the Basque Country; Michael Alan Hams (drums and percussion) and Joe D'Etienne (trumpet) from the United States; and Fatima Gozlan from Hungary (Ney and Derbake).

The consummation of the work is a mid length film created in 2018. It consists of 5 chapters directed by 5 different directors.

The audiovisual journey begins with the conception of the philosophical "Filius", an alchemical symbol that represents the inner child, which transforms the experiences of life into the soul's gold. Later, in "Sylvian" (title that refers to the brain fissure that contains the auditory cortex), by listening to the subtle message that surrounds us, our consciousness and perception expand. Then, in "Tiamat", the pristine chaos that gave birth to the gods, embodies chaos, the confusion generated by the multiple voices: on one hand the moral and imposed precepts, on the other hand, the inner voice that seeks the liberation of the infinite possibilities. In "Hawa", through the recognition of the power of solitude and introspection self-reflective awareness is reached. Finally "Adonai" is the ascension to enlightenment: the further connection with the absolute. As an encore (only available in vinyl) "Teurári" is a gift: a tiny flower where all the points of the universe merge.

Since 2008 Düsseldorf based producer and live wizard Stefan Schwander deeply concentrates on his always evolving electronic venture named Harmonious Thelonious. It besprinkles the world with fractional musical structures in the spirits of American minimal music, in order to immingle them with African rhythm patterns. Exceptional hypnotic opiates, enlarged with twisted harmonies and tricky rhythm archetypes. All heavy danceable!

After five magnetic albums for labels like Emotional Response and his old home base Italic as well as a highly acclaimed string of EPs for in-demand platforms like Asafa, Diskant, Disk, Kontra-Muzik, Meakusma, The Trilogy Tapes or Versatile Records, he now produced a heavy arresting 'Petrolia' LP for Marmo Music - a label that is not new to Harmonious Thelonious. Already on the label's second release Tru West: 'The DOWC part 2' his 'Sunset Liturgy' fingerprints are audible with a moving remix. Now he delivers six epic tunes that only partly dance the familiar Harmonious Thelonious dance. There are deeply traces from Africa and Arabia. There is the polyrhythmic witchery that makes his music special. But in contrast his new tunes are more mental then his former ones. They have a menacing industrial feel but yet continue to be enlarged with the enchanting spirits of the land of the Sahara. Furthermore, there is a slight manic touch arising from nervous electronic and foremost organic melodies. The live played jittery is coming from the Berlin based experimental musician Ghazi Barakat, also known under monikers like Pharoah Chromium or Crème de Hassan for mind shredding ambient, drone, experimental, noise, industrial, free jazz and free improvisation music from beyond. For Harmonious Thelonious Barakat, who also produced together with Marmo Music artist Günther Schickert the collaboration album 'OXTLR' in 2014, tuned his wind instruments Rauschpfeife and Kangling elflock-stricken the Master Musicians of Jajouka way. And instead of giving them a prominent lead position, Schwander deeply implements his tones into his propulsive creations to evoke a modern rhythmic meltdown of Occident versus Orient spheres that exhale a deeply absorbing soul.

A record, who's psychedelic energy fits perfect into the Marmo Music cosmos - a world where the progressiveness of the 70ties continues to live in the current to disband all white bread musical norms for the energy of music without classes. Dancers of the world, unite!

From the inheritor of John Coltrane's mouthpiece a re-integration of deep South African jazz roots with the Black Atlantic spiritual jazz continuum.

Celebration's release trumpeted the emerging dawn of South Africa's epochal changes. Sainted and blessed, Bheki Mseleku appeared as the herald of a new era, a prophet of rebirth and reconnection. This is a work signalling transition and change, and a sign of a South African music that was properly reconnected with global currents - a music that could journey far beyond the stifling combination of exile and oppression in which it had been bound.

Recognising Bheki as a kindred spirit to her late husband, Alice gave him the saxophone mouthpiece that John Coltrane had used during the recording of A Love Supreme. Coltrane was a permanent touchstone for the pianist, one of the few who Bheki felt had the same esoteric and spiritual focus as himself: 'the only musicians I know of who were deeply into this were Coltrane, and Pharoah and Sun Ra', he told an interviewer in 1992.

While the idioms of post-Coltrane spirit jazz are certainly to the fore on Celebration, they are energised by a swift and original musical vision, quite specific to Bheki's music, in which whole musical systems - the marabi and mbhaqanga jazz of the townships, American jazz, European classical, and more - are seamlessly mended together by the pianist's quicksilver musical sensibility and legendary technical ability.

Celebration was originally released on compact disc and cassette in the middle of 1992 by World Circuit. It was Bheki's first statement under his own name, and the first recorded presentation of his personal musical vision. This vision had been tempered across two decades which had combined intense professional playing with profound personal trials in both the spiritual and earthly domains, all set against the greater backdrop of South African political turmoil and exile in Europe.

The band brought together musicians hailing from three signally important points within the interconnected, communicating spaces of the Black Atlantic continuum - North America, post-colonial Britain, and southern Africa. With them, Mseleku created the first major South African-led musical statement to be produced after the sufferance of exile was ended. The ultimate and most egregious remnant of the centuries-long colonial era, apartheid, was finally being dismantled as they played. At this critical point, Mseleku's musical spirit work, channelled from a higher source, spoke of a time to come where all divisions might be transcended by a greater unity.

HINOSCH are a duo of Koshiro Hino from Osaka and Stefan Schneider from Düsseldorf, they first (met and) began their collaborative work of musical interaction and exploring contrasting possibilities in 2017. After a number of concerts in the EU and in Japan a debut EP (HINOSCH EP/TAL05) was released in late 2017. Fully instrumental, their first full-length album HANDS offers a more steeply focussed approach than its largely improvised predecessor.

Encouraged by the momentum generated during a number of on-the-spot recordings in Osaka, where Schneider had held a residency in April 2017, the overall sound of the album has been honed down through meticulous studio engineering. One of the outstanding qualities of HANDS certainly is an unprejudiced approach of sound and song structures. The instrumentation is condently reduced to a small range of analogue and digital machines. Snatches of tape-loops deliver lower-pitched vocal and drum machine samples. This characteristic technical set up soon proved ideal in order to dene a tactile vocabulary of fully unsynchronized rhythm patterns. The word tactile perfectly conjures that quality which is the very essence of HANDS. It is the result of the manner in which interdependent threads of rhythm units are deliberately disconnected to form a cohesive, soulful and exible whole. Most tracks on HANDS are devoid of a central motif and examine an unpredictable dialogue. A fantasy of constant change and a search for musical suggestions is the most vital ingredient in this abstract environment.

The album title HANDS refers to physical aspects of electronic music production. Every live concert of Hinosch usually starts out with a hand shake between Hino and Schneider. The general process of collective music making, programming, button pushing, playing, recording, decision making, all demand utmost concentration. The image on the front of the abum sleeve (designed by Takashi Makabe) reects the general approach of HANDS: layers of tuckled fabrics confronting one another to articulate a form for themselves to no other end than their own orchestration.

After having emerged from the ever thrilling Osaka music scene onto the international playgrounds of electronic music just a few years ago Koshiro Hino's solo activities as YPY and his involvement with the band GOAT have already garnered him a very favourable international reception. Stefan Schneider has over the years produced and collaborated with a.o. Joachim Roedelius (Cluster), Arto Lindsay, Klaus Dinger (NEU!), Dieter Moebius (Cluster), Alexander Balanescu, John McEntire (tortoise), Katharina Grosse, Bill Wells and St.Etienne.